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FOLK  DANCES  AND 

GAMES 


15Y 

CAROLINE    CRAWFORD 

TEACHERS    COLLEGE,    NEW    YORK    CITV 


NEW    YORK 
THE  A.   S.    BARNES   &   COMPANY 


Copyright,  1908, 

BY 

A-  S.  BARNES  &  COMPANY 


Ci7 


L|3Raf)y 


PUBLISHERS'    NOTE. 


Professor  Frederick  Peterson  of  Columbia  University,  well  known  as  a  nerve  specialist 
writes:  "The  dance  seems  to  fulfill  every  requisite  of  an  ideal  exercise  —  the  practical 
use  of  all  the  muscles,  the  acme  of  pleasurable  emotion,  and  the  satisfaction  of  the 
esthetic  sense." 

This  is  true  of  the  folk  dances.  They  are  the  ideal  natural  form  of  exercise.  More- 
over, they  are  simple,  pretty  and  enjoyable  and  give  body  control  as  nothing  else  does. 

The  need  of  the  many  good  things  derived  from  this  form  of  physical  exercise  has 
existed  for  many  years.  With  the  recognition  of  the  need,  there  has  come  a  demand  for 
an  authoritative  hand-book  prepared  with  particular  reference  to  the  schools.  There 
has  beer  no  such  book  in  existence  in  the  English  language.  The  present  book  was 
prepared  to  supply  that  need. 

Miss  Crawford,  the  author,  has  made  a  special  study  of  folk  dancing  for  many  years. 
She  taught  the  subject  to  teachers  at  Chicago  University  and  now  has  charge  of  the 
same  work  at  Teachers  College  in  Columbia  University.  Her  students  have  gone  out 
to  summer  schools  to  spread  the  good  work.  All  this  has  intensified  the  call  for  such 
a  book  as  this,  which  the  publishers  issue  in  the  hope  that  it  will  serve  to  enrich  the  lives 
of  the  children  whose  welfare  and  happiness  were  kept  in  mind  in  the  preparation  of  it, 


m 


CONTENTS. 


Finnish  Dances. 

PAGE 

1.  Alands  Flicka  —  The  Girl  of  Alands  2 

2.  Skvaller-Ulla  — ■  Gossiping  Ella     .   .  4 

3.  Sjalaskuttan  —  Bounding  Heart    .    .  6 

4.  Sappo     8 

5.  Stigare      12 

6.  Harvest  Dance 13 

7.  Sigurdsvaket  —  Sigurd's  Song      ...  18 

Swedish  Dances. 

1.  Bleking     .    .    . 20 

2.  Tantoli 22 

3.  Lott'  1st  Tod  —  Lottie  Is  Dead      .    .  24 

4.  Klappdans  —  Clap  Dance 26 

5.  Old  Polka 28 

6.  Thief,    and    Thief    Now    Shall    be 

Your  Name 31 

7.  Hopp    Morr    Annika  —  Hop    Mother 

Annika 32 

v  8.  Gustaf's  Skol  —  Gustaf's  Health  .    .  34 
9.   Domare       Dansen  —  The      Judgment 

Dance 36 

10.  Fox  and  Geese 38 

11.  nlgarepolskan  —  salutation  dance  .  39 

Scotch  Dances. 

1.  Highland  Schottische  —  Money  Musk  42 

2.  Petronella. 44 


Scotch  Dances.  —  Continued. 

PAGE 

3.  The  Flowers  of  Edinburgh 46 

4.  The  Triumph 48 

5.  The  Reel 50 

English  Dances. 

1.  The  Goddesses 54 

2.  Trenchmore 56 

3.  The  Cobbler's  Jig 58 

4.  My  Lady  Carey's  Dump 59 

5.  Sir  Roger  de  Coverley 60 

German  Dances. 

1.  Hopsasa,  Tra  La  La 62 

2.  Ring  Dance 63 

3.  dornroschen  —  sleeping  beauty    .   .  64 

4.  The  Black  Cook 66 

French  Dances. 

1.   Vintage  Dance 68 

Bohemian  Dances.. 

1.  Rovenacka 72 

2.  Minet 74 

3.  Kuzelka  —  The  Dumpy  One 75 

4.  Zahradnicek — The  Gardener     ...  78 

5.  Kacer  —  The  Drake 80 

6.  Satecek  —  The  Little  Cloth    ....  82 


MEANING   OF  THE    DANCE. 

Only  a  few  years  ago  the  dance  was  used  in  the  gymnasium  simply  as  a  means  of 
exercise.  Beyond  this  it  was  not  seen  to  have  any  place  in  the  school.  But  as  soon 
as  the  dance  was  studied  in  primitive  life,  and  its  function  and  relation  to  the  other  factors 
of  life  were  discovered,  it  was  seen  to  have  a  significance  far  beyond  its  first  use  in  the 
school. 

To  appreciate  the  meaning  of  the  dance,  it  is  necessary  to  understand  the  part  that 
gesture,  as  a  language,  has  played  in  the  development  of  the  race.  Until  very  recent 
times  we  thought  of  the  alphabet  as  the  starting  point  for  language,  and  did  not  look  for 
an  earlier  mode  of  expression.  Now  we  realize  that  there  is  another  language,  made  up 
of  imitative  movements,  which  precedes  verbal  speech.  Man  communicated  with  his 
fellow  beings  long  before  he  chose  certain  arbitrary  words  as  signs  of  his  actions.  These 
more  elemental  signs  are  what  interest  us  when  we  attempt  to  understand  the  dance, 
for  the  dance  is  but  the  expression  of  a  mood;  or  a  story  told  through  the  medium 
of  pantomimic  action. 

This  expression  in  pantomime  is  as  varied  as  man's  interests  and  actions.  Many 
dances  are  dramas  representing  common  occurrences  of  daily  life.  The  love  plays,  the 
stories  and  characterizations  of  animals,  the  occupations,  games,  and  even  the  gay  joyful 
moods  which  are  engendered  by  a  happy  gathering  on  the  village  green,  are  subjects  found 
again  and  again  in  the  dances  of  the  folk. 

We  find  in  the  war  dance  the  excited  telling  of  the  advance  toward  the  enemy,  the 
struggle  with,  and  the  conquest  over  him.  Whether  this  be  the  pyrrhic  dance  of  the 
ancient  Greeks,  or  the  sword  dance  seen  in  recent  times  in  Scandinavia,  matters  little. 
The  form  may  vary,  but  the  plot  remains  the  same.  Among  the  Indians  such  a  dance 
is  a  part  of  the  religious  ceremony  which  is  performed  before  the  battle,  to  insure  the 
success  of  the  enterprise.  The  English  Morris  is  a  descendant  of  this  type  of  dance. 
The  triumphant  battle  march  is  closely  associated  with  the  earlier  war  dance.  There 
is  a  story  in  Brittany  of  two  armies  that  were  marching  toward  each  other  prepared  for 
battle.  As  they  approached,  both  armies  were  singing  King  Arthur's  battle  march. 
The  two  peoples  had  been  separated  for  seven  hundred  years,  but  they  were  yet  brothers. 

The  forms  of  the  love  dances  are  as  varied  as  the  love  songs  of  our  times.  Some 
tell  the  story  of  successful  pursuit  and  capture,  others  are  pathetic  pantomimes  repre- 
senting the  misfortune  of  unrequited  love.  In  southern  Europe  not  a  few  of  the  most 
beautiful  dances  represent  the  whole  gamut  of  emotional  expression  in  the  love  story. 
"The  Little  Cloth"  is  very  closely  allied  to  the  more  highly  developed  love  pantomime. 
The  waltz,  in  its  several  forms,  is  the  dance  expression  of  this  type. 

The  religious  dance  was  often  the  dramatization  of  the  life  or  work  of  the  god.  The 
procession  to  the  sacrificial  altar  is  most  solemn  and  reverent.  The  stately  old  pavan 
has  the  same  melody  as  one  of  our  most  impressive  church  processionals  of  to-day. 
Undoubtedly  many  of  the  old  dances  which  to  us  express  simply  a  joyous  or  a  solemn 
mood  were  originally  a  part  of  the  ritual  of  these  earlier  religions. 

vii 


Vlll 

One  seeing  the  great  Echternach  procession  for  the  first  time,  some  spring  morning, 
would  probably  think  many  folk  out  for  a  happy,  gay  time  on  a  fair  day.  The  dance, 
which  consists  of  jumping  forward,  sideward  and  backward,  is  symbolic  of  the  triumph 
of  summer  over  winter.  Afterward  the  Christian  church  applied  the  nature  symbolism 
to  the  triumph  of  Christianity  over  pagan  darkness,  the  two  jumps  forward  with  the 
jump  backward  typifying  the  final  triumph  of  the  powers  of  light. 

The  "Minet"  is  an  old  form  of  giving  the  right  hand  of  fellowship.  The  people  in 
unity  of  thought  and  act  pray  for  the  blessings  of  heaven  as  they  join  hands  and  move 
together. 

The  common  events  of  the  daily  life  are  subjects  for  many  dances.  "Gossiping  Ella" 
is  a  pungent  little  drama.  "Bounding  Heart"  suggests  in  its  title  the  glad,  wild  form 
of  the  dance.  "The  Drake"  is  a  story  which  all  country  people  would  know.  "The 
Gardener"  is  a  very  humorous  bit,  for  the  slipping  of  one  line  under  the  other  is 
the  telling  part  of  the  dance.  "The  Dumpy  One"  explains  itself  even  among  sophis- 
ticated people.  "Gustaf's  Skol"  is  a  dance  which  would  be  found  among  people  who 
are  subject  to  a  monarch. 

There  is  a  beautiful  myth  connected  with  the  "Vintage  Dance."  The  Spirit  of 
Vegetation  which  has  watched  over  and  cared  for  the  fruit  during  all  the  time  of  its 
growth,  fled  before  the  eager  harvesters  as  they  picked  the  grapes.  It  was  finally  caught 
in  the  last  of  the  fruit  plucked  from  the  vines.  When  the  harvest  was  nearly  over,  all 
the  people  might  be  seen  running  about  searching  for  yet  another  bunch  of  grapes. 
Finally,  with  great  rejoicing  and  shouting,  they  carried  down  from  the  hillside  the  Fruit 
Spirit  embodied  in  the  last  of  the  harvest.  Placing  this  favored  bunch  in  their  midst, 
they  danced  out  the  story  of  the  first  awakening  of  the  Spirit  in  the  spring  with  the 
turning  and  tilling  of  the  soil,  and  the  recovery  of  the  life  of  the  summer  amid  the  fruit 
of  the  vines.  With  the  greatest  joy  they  dance,  now  that  the  harvest  is  over.  The  wine 
from  this  fruit  is  sacredly  cherished  until  the  following  spring,  when  it  is  poured  on  the 
ground  to  renew  the  life  of  the  land. 

The  occupation  dances  which  we  find  among  all  peoples  are  instances  of  the  citing 
of  the  familiar  experiences  of  life.  When  all  the  people  gather  on  the  village  green  in 
the  evening,  —  the  shoemaker,  the  butcher,  the  wheelwright, —  each,  as  he  dances, 
expresses  in  pantomime  some  action  or  incident  of  his  clay's  history.  During  the  four- 
teenth and  fifteenth  centuries,  the  various  guilds  had  public  processionals  and  dances 
which  were  given  on  stated  occasions.  Bohme  says  of  one  of  these  celebrations,  "The 
knife-makers  had  a  sword  dance,  the  coopers  had  their  hoop  dance,  and  the  cloth-makers 
a  flag  dance."     Remnants  of  these  dances  still  exist  among  the  folk. 

The  ballads  that  have  come  down  to  us,  the  legends  of  Dietrich  and  of  Siegfried, 
were  all  originally  choral  dances,  sung  cither  by  the  circling  chorus,  or  by  solo  and  chorus. 
The  refrain  of  the  ballad  still  shows  the  choral  structure.  "  Sigurdsvaket "  illustrates 
the  manner  in  which  the  legend  of  Siegfried  is  told  in  the  Faroe  Islands. 

Fragments  of  many  of  the  old  dramas  have  been  handed  down  in  the  games  of 
children.  Some  of  these  are  portions  of  the  ritual  of  the  summer  and  winter  ceremonies, 
others  were  originally  dramatic  representations  of  the  myths  and  legends.  "Sleeping 
Beauty"  is  a  primitive  drama  of  the  spring  myth.  The  old  German  bridge  game  and 
"London  Bridge"  have  a  very  ancient  mythological  foundation.  There  are  many 
games  which  are  remnants  of  courting  and  marriage  customs.  Several,  like  "Three 
Dukes  A  Riding,"  suggest  marriage  by  capture.  The  ritual  of  tree  worship,  belief  in 
witches,  the  dread  power  of  the  were- wolf,  funeral  rites  and  village  customs,  which  were 


IX 

a  part  of  the  sacrificial  ceremonies  to  the  various  spirits  and  powers,  are  some  of  the 
suggested  origins  of  the  games  which  have  been  preserved. 

"Fox  and  Geese"  is  an  interesting  type  of  the  early  dramatic  form  where  musical 
expression,  action  and  spoken  dialogue  are  all  found  together. 

Three  forms  stand  out  prominently  in  the  early  dance-dramas  —  the  processional, 
the  ronde  and  the  line  dance.  Types  of  the  first  still  linger  in  the  solemn  church  proces- 
sional to  the  sacrificial  altar,  in  funeral  and  wedding  processionals,  in  the  battle  marches 
and  in  the  stately  Polonaise. 

The  ronde  was  the  common  form  for  the  expression  of  ceremonial  moods  and  stories. 
When  any  event  produced  either  a  sad  or  a  joyous  mood,  we  find  that  the  people  danced 
together;  the  particular  significance  of  the  ronde  was  the  sympathetic  unity  of  the  players. 
The  mood  or  story  which  they  represented  was  one  of  communal  interest  and  origin. 
The  leader  of  this  chorus  became  the  bard  of  a  later  time. 

The  line  dance  was  used  to  express  some  degree  of  contest.  It  might  be  a  love  dance 
representing  the  pursuit  and  capture  of  the  maiden;  or  the  Morris  dances  telling  the 
struggle  between  summer  and  winter ;  or  the  form  might  be  a  ballad,  chanted  and  danced 
by  two  advancing  and  retreating  choruses.  Here  the  contest  was  represented  by  means 
of  question  and  answer.  In  many  of  the  old  folk  dramas  we  find  these  three  forms 
—  the  processional  becomes  a  ronde  or  love  dance  according  to  the  ideas  expressed 
by  the  dancing  throng. 

We  have  thought  walking,  running,  skipping,  hopping,  leaping  and  whirling  such 
common  every  day  occurrences  in  the  child's  happy  life,  that  we  have  failed  to  observe  how 
the  child- like  mind  constantly  expresses  various  states  and  degrees  of  feeling  and  thought 
through  these  movements.  They  are  as  much  a  part  of  gesture  language  as  the  move- 
ments of  the  hands  and  arms,  and  in  the  early  dances  were  much  more  prominent. 

"Hopp  Morr  Annika"  is  a  good  illustration  of  the  evolution  of  a  gay  happy  mood  for 
walking  and  skipping,  through  emphatic  clapping  and  stamping  to  the  whirling  climax. 

The  expression  of  grief  in  the  young  is  often  overcome  by  the  reaction  from  the  indi- 
vidual's opportunity  for  self-expression,  as  in  "Lott'  1st  Tod."  When  the  act  and  the 
mood  are  so  intense  that  they  become  inseparably  connected  in  the  mind  then  we  find 
the  more  definite  imitative  pantomime  in  the  drama.  The  dance  passes  on  into  other 
forms  of  expression  when,  in  the  mind  of  the  actor,  it  becomes  inadequate  as  a  means  of 
interpretation  and  expression. 


FINNISH  DANCES 


FINNISH    DANCES. 


ALANDS   FLICKA. 

(THE   GIRL   OF   ALANDS.) 

The  dance  is  similar  to  the  Swedish  "  Bleking."     The  music  is  particularly 
interesting,  as  an  illustration  of  the  evolution  of  melodic  form. 


PART   I. 

The  formation  and  movements  are  the  same  as  in  the  Bleking,  except  in  the 
fourth  measure.  The  dancers  spring  and  change  feet  only  once  during  that 
measure. 

PART    II. 

The  players  polka  during  this  part  of  the  dance,  springing  very  high  on  the 
first  beat  of  the  measure.  They  dance  around  the  circle  in  the  same  manner  as 
in  the  "  Bleking,"  and  at  the  eighth  measure  swing  into  place  for  the  first  part. 


ALANDS   FLICKA. 


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Finnish  Dances. 


SKVALLER-ULLA. 

(GOSSIPING   ELLA.) 

This  reel  is  full  of  life  and  vitality.  The  movements  are  executed  with  great 
abandon.  It  represents  the  little  child's  boisterous  spirit,  combined  with  the 
weight  of  the  adult.  Such  a  dance  as  this  one  might  follow  any  exciting  event 
which  has  happened  to  come  into  the  lives  of  a  group  of  people  who  normally  ex- 
press themselves  through  such  elemental  movements. 

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PART   I. 

All  begin  at  once.  Hop  on  the  right  foot  and  at  the  same  time  strike  the  toe 
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hip-joint  (first  beat);  hop  again  on  the  right  foot  and  strike  the  heel  of  the  left 
foot  to  the  floor.     The  toe  raised  and  turned  outward  ( second  beat,  measure  one.) 

Spring  from  the  right  to  the  left  foot,  and  strike  the  toe  of  the  right  foot  to  the 
floor,  turning  the  toe  inward,  as  above  (first  beat);  hop  again  on  the  left  foot 
and  strike  the  heel  of  the  right  to  the  floor  with  the  toe  lifted,  and  turned  out- 
ward  (second  beat,  measure  two). 

Spring  to  the  right  foot  and  continue  as  in  the  first  measure  (measure  three). 

Spring  to  the  left  foot  and  continue  as  in  the  second  measure  (measure  four). 

Eepeat  as  above  (measures  five  to  eight). 

PART   II. 

All  step  forward  with  the  left  foot  (first  beat),  stamp  with  the  right  foot  (sec- 
ond beat,  measure  one). 

Step  backward  with  the  right  foot  (first  beat),  stamp  with  the  left  foot  (second 
beat,  measure  two). 

Start  with  the  left  foot  and  cross  over  to  the  opposite  side  with  four  walking 
steps.  In  changing  places  the  dancers  pass  back  to  back  with  the  one  standing 
opposite.  The  first  two  steps  are  forward  (measure  three),  the  second  two  turn- 
ing half  way  around  (measure  four). 

Repeat  the  above  (measures  five  to  eight).  This  brings  the  dancers  back  to 
the  starting-point  in  the  line.     The  dance  repeated  at  pleasure. 


Finnish  Dances. 


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Finnish  Dances. 


SJALASKUTTAN. 

(BOUNDING   HEART.) 

The  dance  is  very  youthful  in  its  mode  of  expression.  Except  in  some  men's 
dances,  we  rarely  find  such  excited  movement  without  any  attempt  at  expression 
through  liner  muscles  in  some  part  of  the  dance. 

The  players  form  in  a  double  circle  facing  toward  each  other.     All  place  arms 

akimbo. 

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Both  slide  forward,  Number  One  with  the  left,  Number  Two  with  the  right 
foot,  (  first  beat ) ;  bring  the  other  foot  up  to  the  rear  of  the  forward  foot,  change 
weight,  flinging  the  forward  foot  in  air  ( second  beat ).  Hop  on  the  rear  foot, 
swinging  the  forward  foot  behind  the  rear  (third  beat,  measure  one  ).  Repeat  the 
step  (measures  two  and  three). 

Step  forward  with  the  forward  foot,  ( first  beat ) ;  jump  and  turn  back  to  back, 
both  facing  outward  (second  and  third  beats,  measure  four). 

Repeat  the  above,  starting  with  the  forward  foot,  Number  One  with  the  right, 
Number  Two  with  the  left  foot,  and  turning  face  to  face  at  the  jump  on  the 
eighth  measure  (measures  four  to  eight). 

One  movement  like  the  first  measure  (measure  nine),  step  forward  and  jump, 
turning  back  to  back  (measure  ten). 

One  movement  forward  (measure  eleven),  step  forward  and  jump,  turning  face 
to  face  (  measure  twelve ). 

Repeat  the  movement  of  the  first  four  measures,  but  at  the  fourth  measure,  in- 
stead of  turning  half  way  around  make  a  complete  revolution,  finishing  in  the 
starting  position.     Repeat  the  dance. 


Finnish  Dances. 


7 


SJALASKUTTAN. 


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SAPPO. 

(NAMED   FOR    A   PARISH   IN  FINLAND.) 

The  dancers  form  in  three  small  squares,  with  four  dancers  in  each  square : 

1  1  1 

2  2  2  2  2  2 

1  1  1 

The  arms  are  placed  akimbo  for  the  first  movement. 

PART    I. 

All  stand  facing  diagonally  toward  their  left,  with  the  right  foot  toward  the 
center.  Place  the  right  heel,  with  the  toe  lifted,  on  the  floor  toward  the  center, 
(first  beat);  place  the  right  toe  behind  the  other  foot  (second  beat,  measure  one). 

Repeat  the  above,  ( measures  two,  three,  four ),  but  at  the  last  beat  of  the  fourth 
measure,  all  turn  right  facing  diagonally  toward  the  right. 

Repeat  the  above  movement  with  the  left  foot  ( measures  one  to  four  repeated). 

TART    II. 

Numbers  Two  clap  hands  and  cross  over,  passing  to  the  left  and  back  to  back 
( measures  one  and  two ). 

Numbers  One  repeat  the  movement  (measures  three  and  four). 
Numbers  Two  clap  hands  and  cross  over,  returning  to  the  first  position  (mea- 
sures one  and  two  repeated ). 

Numbers  One  clap  hands,  but  instead  of  returning  to  their  first  position,  they 
step  behind  Numbers  Two  (measures  three  and  four  repeated).  The  position  is 
this : 

1 
2  2  12  2        1 

1  left  right 

TART    III. 

Number  One  on  the  left  and  Number  Two  on  the  right  place  the  right  hand 
over  the  eyes  and  look  across  toward  each  other,  both  looking  to  the  right  of  the 
one  standing  between  them  (measure  one). 

Place  the  left  hand  over  the  eyes  and  look  toward  each,  both  looking  to  the 
led  of  the  one  standing  between  them  (measure  two). 

Repeat  fche  first  movement  (measure  three). 

Repeat  the  second  movement  (  measure  four ). 

They  both  clap  hands,  skip  forward  to  the  center,  join  hands  and  skip  around 
to  the  left  (measures  one,  two  and  three  repeated). 

Return  to  their  places  (measure  four  repeated). 

The  whole  movement  is  repeated  by  Number  Two  on  the  left  and  Number 
One  on  the  right  (measures  one,  two,  three  and  four  repeated). 
Finnish  Dances. 


TART    IV. 

Each  group  of  four  dancers  forms  a  circle,  thus  : 

1  1  1 

2         2  2         2  2         2 

1  1  1 

All  join  hands  and  run  to  the  left  (measures  one  to  eight),  turn,  and  run  about 
to  the  right  ( measures  one  to  eight  repeated ). 

During  the  last  measure  of  the  movement  the  dancers  form  in  the  following 
manner. 


to 


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U>  i-l  iH 

(a) ^(b) ^(c) 

PART    V. 

All  dance  on  place  with  arms  akimbo.  Lift  the  right  foot  diagonally  forward 
and  swing  it  in  front  of,  and  close  to,  the  left,  placing  the  weight  on  it,  lifting  the 
left  foot  diagonally  backward  (first  beat).  With  quick  movement,  swing  the 
left  foot  in,  diagonally  behind  the  right,  placing  the  weight  on  it,  lifting  the  right 
a  very  short  distance  from  the  floor  ;  quickly  replace  the  right  foot  and  lift  the 
left  ( second  beat,  measure  one ). 

Swing  the  left  foot  around  diagonally  forward  and  repeat  the  above  movement, 
beginning  with  the  left  foot  (  measure  two ). 

Continue  movement  (  measures  three  to  eight ). 

During  the  next  eight  measures  all  the  dancers  walk  forward  changing  places. 

The  line  marked  (b )  move  to  the  position  of  (c),  the  line  (a)  to  the  position 
of  line  (b ),  while  the  line  ( c )  covers  the  double  distance,  and  takes  the  position 
of  (a).  When  the  lines  meet  they  salute  by  bowing  Avhile  walking.  The  sixteen 
measures  are  repeated.  During  the  first  eight  the  dancers  repeat  the  movement 
on  place.     During  the  second  eight  they  all  walk  to  their  former  lines. 

The  sixteen  measures  are  repeated  a  third  time.     All  form  one  large  circle  by 
running  in  the  following  manner  : — 


1— ' 

h- ' 

<M 

tc 

to 

i— 1 

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to 

tO 

i— I 

All  join  hands  and  skip  about  to  the  left  (measures  one  to  eight),  turn  and 
skip  about  to  the  right  (measures  nine  to  sixteen). 

Finnish  Dances. 


10 


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Finnish  Dances. 


12 


STIGARE. 


In  character  and  meaning  the  dance  is  similar  to  the  Swedish  dances  "  Blek- 
ing"  and  "Tantoli." 

The  players  form  in  a  double  circle  facing  left ;  the  inner  hands  are  joined  ;  the 
outer  arms  are  akimbo. 


PART   I. 

The  dancers  face  toward  each  other,  slide  the  outer  foot  sideward ;  bring  the 
inner  foot  up  to  the  outer,  changing  weight  ( first  beat ) ;  step  sideward  with  the 
outer  foot  ( second  beat,  first  measures ). 

Place  the  inner  foot  behind  the  outer,  and  courtesy  by  bending  both  knees 
(second  measure). 

Kepeat  the  above,  starting  with  the  other  foot  and  making  the  step  and  cour- 
tesy in  the  opposite  direction  ( measures  three  and  four). 

PART    II. 

The  players  face  each  other  and  join  both  hands.  Slide  sideward,  Number  One 
with  the  left,  Number  Two  with  the  right  foot ;  bring  the  other  foot  up  and  change 
weight  (first  beat);  step  sideward  with  stamp  (  second  beat,  first  measure). 

Slide  sideward  in  opposite  direction  to  the  above  (Number  One  with  the 
right,  Number  Two  with  the  left  foot).  Bring  the  other  foot  up,  and  change 
weight  (first  beat);  step  sideward  and  stamp  (second  beat,  second  measure). 

Repeat  the  step,  omitting  the  stamp.  Number  One  starts  with  the  left,  Num- 
ber Two  with  the  right  foot  forward.  They  turn  half  way  around  so  that  the 
dancers  change  places,  Number  One  taking  the  place  of  Number  Two,  ( measures 
three  and  four). 

Repeat  the  four  measures.  At  the  end  the  dancers  are  again  in  position  to 
begin  the  first  part  of  the  dance. 


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13 
HARVEST    DANCE. 

The  dance  is  one  of  the  most  charming  of  all  the  northern  folk  dances.-  Be- 
cause of  its  developed  pantomimic  expression,  it  occupies  a  very  high  place 
among  the  early  types  of  folk  drama.  The  story  of  the  summer's  life  is  told  with 
the  naivete  of  childhood.  The  bit  of  a  love  story  at  the  end  of  the  dance  is  an 
integral  part  of  the  whole,  and  forms  the  climax  of  the  summer's  life.  The  rhythm 
most  prominent  in  the  dance  comes  from  the  movement  of  the  reapers. 

The  dancers  form  in  a  double  line  for  a  procession.  The  inner  hands  are 
joined  ;  in  the  outer  they  carry  rakes,  or  rakes  and  sickles.  The  implements  are 
carried  over  the  shoulder. 


I 
1 

1 


2 
2 
2 


etc. 


PART    I. 

The  players  turn  face  to  face  and  step  forward  (first  beat),  bring  the  rear  foot 
up  and  place  it  just  behind  the  forward  foot  (second  beat),  spring  to  the  for- 
ward foot  with  a  very  slight  leap  in  the  air  (third  beat),  hold  the  position  with  the 
body  balanced  slightly  foward  ( fourth  beat,  measure  one ).  The  arms  are  swung 
backward,  upward  during  this  measure. 

Swing  the  rear  foot  around  to  the  front,  dancers  facing  away  from  each  other 
and  repeat  the  steps  of  the  first  measure  (measure  two).  The  arms  are  swung 
forward,  upward  during  this  measure. 

Continue  the  steps  while  the  procession  passes  down  the  center  of  the  floor. 
Then  the  dancers  repeat  and  form  in  two  lines  at  either  side  of  the  room,  each 
line  following  its  own  leader.     The  free  arm  is  placed  akimbo. 


PART   II. 

Both  lines  left  face  ( one  line  then  faces  outward  and  the  other  inward ),  all 

start  with  the  right  foot,  step  sideward  right  ( first  beat ),  swing  the  body  around 

toward  the  right  describing  a  half  circle,  swing  the  left  foot  with  the  body  and 

step  on  the  left  (second  beat),  bring  the  right  foot  up  to  the  left  and  change 

weight  (third  beat,  measure  one). 

Finnish  Dances. 


14 

Step  sideward  left  (first  beat),  swing  the  body  half  way  around  toward  the  left 
describing  a  half  circle,  swing  the  right  foot  with  the  body  and  step  on  the  right 
(second  beat),  bring  the  left  foot  up  to  the  right  and  change  weight  (third  beat, 
measure  two). 

Eepeat  the  movement  ( measures  three  to  eight ). 

Repeat  as  many  times  as  necessary  for  the  movement. 

The  dancers  in  each  line  follow  the  leaders.  They  all  pass  one  by  one  at  the 
forward  end  of  the  room.  At  the  beginning  of  the  movement  the  two  lines 
should  stand  far  enough  apart  so  that  the  leaders  may  pass  each  other  on  the 
third  measure.  On  the  fourth  measure  the  second  dancers  in  the  linepass  each 
other,  and  so  on  until  both  lines  have  woven  past  each  other.  All  in  the  one 
line  face  outward,  while  all  in  the  other  line  face  inward.  Repeat  the  move- 
ment down  the  sides  and  pass  again  at  the  other  end  of  the  room ;  they  then 
continue  the  movement  up  the  sides  to  the  starting  places.  This  figure  leaves 
the  lines  in  the  starting  position,  with  the  exception  that  they  all  face  toward  the 
center  during  the  last  measure  of  music. 


bo 

1 

to 

1 

bO 

etc. 

1 

PART 

III. 

Numbers  One  stand  in  place  with  the  rakes  over  their"shoulders.  Numbers 
Two  all  left  face  at  the  introductory  chord,  step  sideward  with  the  right  foot  (first 
beat ),  swing  the  body  in  a  half  circle  toward  the  right,  swing  the  left  foot  with 
the  body  and  step  sideward  left,  at  the  same  time  swing  the  rake  clown  in  front 
of  the  body  (  second  beat ),  bring  the  right  foot  up  to  the  left  and  change  the 
weight  to  it  (third  beat,  measure  one). 

Step  sideward  with  the  left  foot  (first  beat),  swing  the  body  in  a  half  circle 
toward  the  left,  swing  the  right  foot  with  the  body,  and  step  sideward  with  the 
right  foot,  at  the  same  time  raking  the  grain  (second  beat),  bring  the  left  foot 
up  to  the  right  and  change  the  weight  to  it,  (third  beat,  measure  two). 

Repeat  the  above  movement  (  measures  three  to  six  ). 

This  brings  the  line  (Numbers  Two)  up  in  front  of  Numbers  One.  They 
then  swing  1  lie  rakes  over  the  shoulder  and  walk  six  steps  backward  to  place 
(  measures  seven  and  eight). 

Finnish  Dances. 


15 

The  whole  movement  is  repeated  by  Numbers  One  while  Numbers  Two  stand 
in  place.  This  swinging  movement  is  very  simple  if  the  movement  of  reaping 
grain  is  recalled. 

PART    IV. 

During  this  movement  the  rakes  remain  on  the  shoulder.  On  the  first  beat 
Numbers  One  right  about  face,  while  Numbers  Two  walk  six  steps  forward  and 
stop  immediately  behind  Numbers  One  (measures  one  and  two). 

Every  Number  Two  looks  over  the  left  shoulder  of  the  one  standing  in  front, 
while  the  one  in  front  looks  toward  the  right  (measure  three). 

Number  Two  then  looks  over  the  right  shoulder  and  Number  One  looks  toward 
the  left  (measure  four). 

Repeat  (  measures  five  and  six  ). 

Numbers  Two  then  walk  six  steps  backward  to  place,  while  Numbers  One,  on 
the  first  beat  of  the  seventh  measure  left  about  face  in  the  line  ( measures  seven 
and  eight ). 

The  whole  movement  is  repeated,  but  when  Number  Two  looks  over  the  left 
shoulder  Number  One  also  looks  toward  the  left.  In  this  movement  the  players 
look  toward  instead  of  away  from  each  other  (measures  one  to  eight). 

The  whole  movement  is  again  repeated,  Numbers  One  walking  forward  and 
Numbers  Two  turning  on  place.  But  when  the  seventh  and  eighth  measures  are 
played  the  last  time,  Numbers  One  take  Numbers  Two  by  the  hand  and  all  take 
two  sliding  steps  sideward  to  the  middle  of  the  floor. 

part  v. 

The  players  are  now  all  in  a  line  for  the  next  part  of  the  dance.     The  music 
and  step  of  this  movement  are  the  same  as  in  the  first  part  of  the  dance.     The 
12     line  forms,  however,  in  three  groups  of  three  couples  in  each  group. 
Instead  of  going  immediately  off  the  floor,  each  group  forms  a 
small  circle  toward  the  left  side.     Numbers  One  kneel,  while  Num- 
bers Two  pass  around  the  kneeling  players.     Each  one  passes  be- 
hind her  own  partner,  then  passes  in  front  of  and  around  the  next 
one,  and  in  front  of  and  around  the  third,  and  to  her  own     .<"**\    {Ar\ 
partner  again.     Numbers  Two  should  all  start  together   4(1;    \  \J 
and  return  to  their  places  on  the  same  beat.     As  soon  as  :    \ 

Numbers  Two  have  returned  to  their  places  in  the  circle,         T  1  ;2 
Numbers  One  all  stand,  and  they  all  dance  off  the  floor         \^/ 
in  one  long  line,  as  they  entered  in  the  beginning  of  the 
dance. 

Finnish  Dances. 


16 


HARVEST   DANCE. 


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Finnish  Dances. 


17 


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Finnish  Dances. 


18 

SIGURDSVAKET. 

From  Faroe  Islands. 

(SIGURD'S   SONG.) 

This  choral  is  given  to  illustrate  the  manner  of  dancing  and  singing  the  bal- 
lads. 

The  players  form  a  circle  and  join  hands,  literally,  join  forearms.  They  move 
around  to  the  left  in  this  manner,  step  left  (first  beat),  bring  right  foot  up  to 
left  and  change  (second  beat),  step  left  (third  beat),  swing  right  foot  across  in 
front  of  left  ( fourth  beat),  swing  right  foot  back  to  the  right  side  and  step  (fifth 
beat),  bring  the  left  up  to  the  right  and  step  (sixth  beat). 

While  the  leader  sings  the  stanza  the  step  is  quiet,  but  during  the  chorus  the 
step  is  accented  on  the  first  and  sixth  beats  in  each  measure,  and  the  arms  are 
swung  upward  in  the  direction  of  moving  feet. 

As  the  ballad  is  told,  the  singers  swing  their  bodies  as  well  as  their  arms  dur- 
ing the  chorus. 

Solo.     Heard  have  I  from  olden  time, 
Eagle  flew  round  world. 
Now  shall  I  chant  of  Sigurd  gay 
And  his  first  great  work. 
Chorus.    Grani  bore  gold  from  the  heather, 
(Irani  bore  gold  from  the  heather, 
Sigurd  swung  his  sword  with  joy, 
Sigurd  felled  the  dragon  bold. 
Grani  bore  gold  from  the  heather. 


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Finnish  Dances. 


SWEDISH  DANCES 


20 

SWEDISH   DANCES. 


BLEKING. 

(NAMED   FROM   A   PROVINCE.) 

The  dance  is  gay  and  energetic.  The  movements  are  forceful  and  all  empha- 
sized parts  are  vigorous  and  somewhat  heavy. 

The  pantomimic  expression  of  the  first  part  is  playful  resistance ;  of  the  sec- 
ond, joyful  success. 

e»  "  «v 

-I 

The  players  form  in  a  circle  facing  the  left.  Beginning  with  the  leader,  every 
other  one  turns  around  and  faces  the  one  behind.  The  two  players  facing  each 
other  join  hands. 

PART    I. 

Both  hop,  placing  the  right  heels  forward  and  the  right  arms  forward  each  in 
front  of  the  partner's  shoulder.  Hop  and  change  to  the  left  feet,  with  the  left 
arms  forward  (measure  one). 

Three  quick  changes  with  the  feet  and  arms  (measure  two). 

Repeat  the  above,  beginning  with  the  left  foot  (measures  three  and  four). 

Repeat  the  entire  movement  (measures  five  to  eight). 

TART    II. 

The  leader  and  all  the  dancers  facing  in  his  direction  start  backward  with  the 
left  toot,  the  others  start  forward  with  the  right.  Hop  twice  on  either  foot. 
Take  i  wo  of  these  steps  backward  and  two  turning  round  (measures  nine  and  ten  ). 
All  dance  around  circle  dining  the  second  eight  measures.  On  the  eighth  measure 
the  dancers  stop  and  take  the  position  for  the  first  part  of  the  dance. 

Repeal  from  the  beginning. 


21 


BLEKING. 


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Swedish  Dances. 


22 


TANTOLI. 

(NAMED  FROM   A  PROVINCE.) 

The  dance  is  similar  to  the  Bleking  in  character,  the  movements  of  the  first 
part  differing  somewhat. 

The  players  form  in  a  double  circle  facing  left.  They  join  inner  hands.  The 
outer  arms  are  placed  akimbo. 

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PAKT   I. 

Both  place  the  outer  heel  forward.  Swing  the  arms  backward,  upward,  and 
face  toward  each  other  ( first  beat ) ;  place  the  outer  toe  backward  ( second  beat, 
measure  one). 

Begin  with  the  outer  foot,  three  short  running  steps  forward  ( measure  two ). 

Eepeat  the  movement,  beginning  with  the  inner  foot,  swinging  the  arms  for- 
ward, upward,  and  face  away  from  each  other  (measure  three).  Three  short 
running  steps  forward  (measure  four). 

Repeat  as  above  (measures  five  to  eight). 

PART   II. 

See  the  Bleking,  Part  II. 


i  ■ 


Swedish  Dances. 


23 


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Swedish  Dances. 


24 


LOTT'    1ST   TOD. 

(LOTTIE   IS   DEAD.) 

The  dance  is  slow  and  mournful  in  the  first  movement,  rapid  and  excited  in 
the  second.  The  overcoming  of  grief  by  action  is  illustrated  in  this  primitive  and 
childlike  play.  The  formation  is  the  same  as  in  the  Bleking,  that  is,  Number 
One  stands  in  front  of,  and  faces  Number  Two,  with  the  hands  joined. 

PART    I. 

The  movement  represents  rocking  the  body  with  grief.  Both  step  sideward 
toward  the  center,  raising  the  arms  sideward ;  then  bend  the  body  toward  the 
center,  letting  the  arms  fall  slowly  to  the  side  (first  beat).  Kaise  the  arms  and 
body  and  repeat  (measure  one).     Repeat  (measure  two). 

The  mood  changes,  the  body  is  raised,  the  arms  lifted  sideward.  Begin  with 
the  outer  foot  and  slide  eight  short  quick  steps  outward  ( measures  three  and 
four).     Repeat  the  movement  (measures  five  to  eight). 


PART   II. 


See  the  Bleking.     Part  II. 


Swedish  Dances. 


25 


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Swedish  Dances. 


26 

KLAPPDANS. 

(  CLAP   DANCE.) 

The  Klappdans  is  a  good  illustration  of  the  working  up  to  a  climax  in  panto- 
mimic representation.  The  first  movements  show  a  mood  of  considerable  excite- 
ment and  gaiety.  Then  the  action  becomes  more  emphatic  and  forceful;  and 
finally  the  dance  breaks  into  clapping  of  hands  and  stamping  of  feet,  reaching  its 
climax  with  the  spirited  challenge  of  the  partners. 

The  players  form  a  double  circle,  facing  left.  The  inner  hands  are  joined,  the 
outer  arms  akimbo. 


PART    I. 

Both  begin  with  the  outer  foot.  Run  *three  short  steps  forward,  hopping  on 
the  first  step.  The  inner  arms  are  swung  backward  and  upward  and  the  dancers 
face  each  other  ( measure  one ). 

Same  step  with  the  inner  foot,  arms  swung  forward  and  upward  and  the  dan- 
cers face  away  from  each  other  (measure  two). 
,      Repeat  above  through  first  eight  measures. 

The  eight  measures  of  music  are  repeated  with  the  following  step  :  Both  begin 
with  outer  foot,  place  outer  heel  forward  (first  and  second  beat),  outer  toe  behind 
(third  and  fourth  beat,  measure  one),  moving  step  forward,  as  above  (measure 
two ).     The  position  of  arms  and  body  are  the  same  as  above. 

Repeat  with  inner  foot  ( measures  three  and  four). 

Continue  (measures  five  to  eight). 

PART    II. 

The    dancers  stop  and   the  two  dancing   together  turn  towards  each  other. 
Those  on  the  inner  side  of  the  circle  make  a  bow  with  the  anus  akimbo,  those  on 
the  outer  side  make  a  courtsey  (measure  nine).     The  courtsey  is  made  by  plac- 
ing one  foot  behind  the  other  and  bending  Unees. 
r    All  clap  hands  three  times  (measure  ten). 

Repeat  movements  (  measures  eleven  and  twelve). 

Strike  right  hands  together,  and  clap  hands  once  (  measure  thirteen). 
Swedish  Dances. 


27 

Strike  left  hands  together  and  clap  hands  once  (measure  fourteen). 
/< 'T5oth  turn  round  toward  the  left  and  stamp  throe  times  (measures  fifteen  and 
sixteen ). 

The  eight  measures  of  music  are  repeated,  with  the  following  change  :  In  place 
of  clapping  the  hands  three  times  (measures  ten  and  twelve),  the  players  shake 
first  the  forefinger  of  the  right  hand  (tenth  measure)  then  the  forefinger  of  the 
left  hand  (twelfth  measure)  towards  each  oilier,  as  if  challenging. 

At  the  seventh  measure  they  join  hands  and  swing  around,  the  one  on  the  out- 
side passing  to  first  partner  toward  the  rear  (eighth  measure). 


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Swedish  Dancps. 


28 

OLD   POLKA. 

The  slow  dances  like  the  one  given  here  are  usually,  in  their  earliest  forms,  a 
part  of  some  religious  ceremony.  After  the  ceremony  has  lost  its  meaning,  the 
dance  is  often  adapted  for  the  most  dignified  social  gatherings  and  gradually  be- 
comes gracious  rather  than  solemn  in  character. 

Eight  dancers  form  on  the  corners  of  a  square.  Each  couple  faces  so  that  all 
will  move  around  the  square  toward  the  left.  The  ladies  stand  on  the  left  side 
of  the  gentlemen.     The  inner  arms  are  joined,  the  outer  arms  akimko. 


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24 


PART    I. 


Both  slide  forward  with  the  outer  foot  ( first  beat ) ;  draw  the  inner  foot 
toward  the  outer,  changing  the  weight  ( second  beat ) ;  slide  forward  with  the  outer 
foot  (third  beat);  draw  the  inner  foot  behind  the  outer  without  changing  the 
weight  ( fourth  beat,  measure  one ).  During  this  measure  swing  the  arms  back- 
ward, upward,  and  face  toward  partner. 

Slide  forward  with  the  inner  foot  (  first  beat) ;  draw  the  outer  foot  behind  the 
inner,  changing  weight  (second  beat);  slide  forward  with  the  inner  foot  (third 
beat) ;  draw  the  outer  foot  behind  the  inner  without  changing  the  weight,  (fourth 
beat,  measure  two ). 

Repeat  the  first  movement,  beginning  with  the  outer  foot  ( measure  three). 

During  these  three  measures,  the  dancers  pass  to  the  next  corner  of  the  square. 
The  lady  begins  with  the  inner  foot  and  with  the  same  step  in  front  of  the  gentle- 
man.    Both  take  a  quarter  turn  to  the  left  during  this  measure  ( measure  four ). 

PART    II. 

The  lady  places  her  arms  akimbo.  The  gentleman  places  his  hands  on  the 
lady's  shoulders.  Movement  for  lady,  slide  sideward  with  the  right  foot  (first 
beat);  draw  the  left  to  right  and  change  weight  (second  beat) ;  place  right  heel 
on  the  floor  at  the  right  side  (third  beat);  hold  position  (fourth  beat).  The 
gentleman  moves  to  the  right  in  a  similar  manner.  The  lady  looks  over  her  right 
shoulder  away  from  him,  while  he  looks  toward  her  over  her  left  shoulder  ( mea- 
sure live ). 

The  lady  draws  the  right  foot  to  the  left  and  changes  the  weight  (  first  beat)  ; 
slides  the  left  fool  sideward  (second  beat)  ;  draws  the  right  foot  to  the  left  and 
Swedish  Dances. 


29 

changes  the  weight  ( third  beat) ;  places  the  left  heel  on  the  floor  at  the  left  side 
( fourth  beat );  she  looks  to  the  rear  over  her  left  shoulder.  The  gentleman  moves 
toward  the  left  in  a  similar  manner  and  looks  toward  her  over  her  right  shoul- 
der (measure  six). 

Repeat  the  first  movement  ( measure  seven  ). 

During  the  fourth  measure  she  moves  behind  him  and  he  moves  in  front  of 
her.  They  repeat  the  four  measures  in  this  position,  but  on  the  fourth  measure 
she  moves*  to  her  first  position  at  his  left.  He,  meanwhile,  moves  backward  to 
her  right  side  (measures  one  to  four). 

PART    III. 

The  gentleman  dances  forward  during  the  four  measures  as  in  the  first  part  of 
the  dance.  The  lady  begins  with  the  outer  foot  and  dances  diagonally  forward, 
crossing  over  in  front  of  the  gentleman  during  the  first  two  measures  (measures 
five  and  six). 

Both  join  hands  and  turn  once  around,  at  the  same  time  moving  forward  to  the 
next  corner  ( measures  seven  and  eight ).  The  lady  is  now  on  the  gentleman's 
right  side. 

PART    IV. 

Both  begin  with  the  outer  foot.  The  gentleman  dances  forward  to  the  next 
corner,  as  in  the  first  part  ( measures  nine  to  twelve ). 

The  lady  turns  under  his  uplifted  arm  as  she  dances  forward  (  measure  nine ). 

The  same  (measure  ten  ). 

She  dances  forward  with  him  ( measures  eleven  and  twelve ). 

Repeat  the  movement  to  the  next  corner,  but  during  the  last  measure  they  turn 
and  face  each  other  standing  diagonally  across  the  corner  ( measures  thirteen  to 
sixteen). 

part  v. 

The  arms  are  placed  akimbo.  Both  slide  sideward  with  the  right  foot  ( first 
beat )  ;  draw  the  left  foot  to  the  right  and  change  weight  ( second  beat )  ;  slide 
sideward  with  the  right  foot  ( third  beat )  ;  draw  the  left  foot  to  the  right  foot 
without  changing  the  weight  (  fourth  beat,  measure  nine  ). 

Place  the  left  heel,  with  the  toe  raised,  on  the  floor  at  the  left  side  ( first  and 
second  beats  ) ;  place  the  left  toe  on  the  floor  at  the  left  side  ( third  beat )  ;  place 
the  left  foot  close  to  the  right  changing  the  weight  (fourth  beat,  measure  ten  ). 

Swedish  Dances. 


30 

The  partners  change  places.  Begin  with  the  right  foot  and  walk  across  the 
corners  with  three  steps,  turning  toward  the  right  while  crossing  over  (first,  sec- 
ond and  third  beats );  bring  the  feet  together,  placing  the  weight  on  the  left  foot, 
( fourth  beat,  measure  eleven  ). 

Place  the  right  heel  on  the  floor  at  the  right  side  ( first  and  second  beats ) ; 
place  the  right  toe  on  the  floor  at  the  right  side  ( third  beat) ;  place  the  right  foot 
close  to  the  left,  changing  the  weight  ( fourth  beat,  measure  twelve ). 

The  above  movement  is  repeated,  but  during  the  last  measure  they  turn  so  as 
to  continue  along  the  right  side  of  the  square  to  the  next  corner  ( measures  thir- 
teen to  sixteen ). 


PART   VI. 

The  inner  hands  are  joined.  The  outer  arms  are  placed  akimko.  Begin  with 
the  outer  foot.  Place  the  heel  of  the  outer  foot  forward  (  first  and  second  beat ); 
place  the  toe  of  the  outer  foot  behind  ( third  beat )  ;  place  the  outer  foot  beside 
the  inner  and  change  the  weight  (fourth  beat,  measure  one). 

Take  the  same  step  as  in  the  first  part  but  turn  half  way  around.  This  places 
the  lady  on  the  inside,  the  gentleman  on  the  outside  of  the  square  (measure  two). 

Repeat  the  above  (measures  three  and  four). 

Repeat  again  ( measures  five  and  six ). 

Both  slide  forward  very  slowly  ( measure  seven ). 

The  gentleman  bows  and  the  lady  curtesys  (measure  eight ). 

The  final  movement  places  the  lady  on  the  inside,  the  gentleman  on  the  out- 
side of  the  square,  and  the  dancers  are  all  one  corner  beyond  their  starting  point. 

The  dance  is  repeated. 


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Swedish  Dances. 


THIEF,    AND   THIEF    NOW   SHALL   BE   YOUR    NAME. 


31 


The  players  form  in  a  double  circle.     One  on  the  outside  bows  to  one  of  the 
dancers  in  the  circle  (Number  Two)  and  these  two  start  dancing  around  together. 


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10 


The  one  who  has  lost  a  partner  immediately  chooses  another  in  like  manner. 
Each  one  as  he  loses  his  partner,  does  likewise  until  all  in  the  circle  have  new 
partners  (  measures  one  to  four). 

They  sing  while  dancing, 

Thief,  and  thief  now  shall  be  your  name, 
For  my  little  friend  you  took. 
But  I  have  this  very  great  hope, 
That  I  may  rind  one  if  I  look. 
They  all  dance  around  with  the  new  partner  singing, 

1  think,  tra-la-la, 

I  think,  tra-la-la, 

I  think,   tra-la-la, 

I  think  so. 
The  one  who  was  left  out  now  starts  the  dance  again. 

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Swedish  Dances. 


32 


HOPP   MORR  ANNIKA. 

(HOP  MOTHER  ANNIKA.) 

The  players  form  in  a  double  circle  with  the   inside   hands    joined    ( intro- 
duction). 

i—i 


PART    I. 

All  walk  around  swinging  the  hands  ( measures  one  to  four). 
All  skip  around  ( measures  live  to  eight ). 

PART   II. 

The  partners  turn  and  face  each  other.  Everyone  clasps  his  own  hands,  then 
right  hands  across,  clap  own,  clap  left  across,  clap  own,  clap  both  hands  across, 
clap  own,  clap  both  hands  across  (measures  nine  to  twelve). 

Repeat. 

PART    III. 

The  partners  join  hands  and  dance  around  the  circle.  Begin  with  the  forward 
foot,  hop  and  slide,  turning  at  the  same  time  (first  beat);  bring  the  rear. foot  up 
to  the  forward  and  change  weight  (second  beat).  This  movement  turns  the  dan- 
cers half  way  around,  and  also  carries  them  forward  ( measure  thirteen ). 

As  above  with  the  other  foot  ( measure  fourteen ). 

Continue  around  the  circle  (measures  thirteen  to  twenty). 

When  the  introduction  is  repeated,  the  players  on  the  inside  of  the  circle  move 
1  tack  ward.     Those  on  the  outside  move  forward,  to  change  partners. 

The  dance  continues  as  before. 


Swedish  Dances. 


33 


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34 


GUSTAF'S  SKOL. 


(GUSTAF'S   HEALTH.) 


This  small  drama  is  very  interesting.  The  first  part  represents  the  vow  of  al- 
legiance to  a  superior,  while  the  second  is  a  very  clever  pantomimic  imitation  of 
the  yoke  of  subjection.  The  close  intermingling  of  joyous  with  serious  moods  in 
early  dramas  of  the  kind  is  very  suggestive  to  the  teacher  of  little  children.  Any 
expression  tends  to  kindle  a  more  or  less  joyful  outburst  on  the  part  of  the  prim- 
itive actor,  and  the  most  serious  dramas  are  usually  mingled  with  the  players' 
joyful  self-expression. 

The  eight  players  form  in  a  square,  facing  toward  the  center.  Those  on  the 
north  and  south  are  the  first  players,  those  on  the  east  and  west   the  second 

players. 

12 


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12 

PART    I. 

^The  first  players  walk  slowly  forward  three  steps,  and  lift  the  right  hand  high, 
with  the  cup  they  are  supposed  to  carry  ( measures  one  and  two ). 

They  extend  the  arms  low  at  the  side,  bend  forward,  and  move  backward  to 
place  (  measures  three  and  four  ). 

The  second  players  take  the  same  movements  ( measures  five  to  eight ). 

Eepeat  from  the  beginning. 

PART    II. 


The  first  players  join  inner  hands  and  run  to  second  players  who  bend  for- 
ward as  the  first  players  pass  around  them  with  the  joined  hands  over  their 
bowed  heads  ( measures  nine  and  ten). 

The  first  players  turn  around  and  run  back  to  place  ( measures  eleven  and 

twelve). 

The  partners  join  hands  and  whirl  around  once  on  place  (measures  thirteen 
and  fourteen),  then  stamp  the  feet  three  times  (measures  fifteen  and  sixteen). 

The  music  is  repeated,  and  the  second  players  take  the  part  of  the  first  play- 
ers, repeating  the  above. 

Swedish  Dances. 


35 


GUSTAFS   SKOL. 


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Swedish  Dances.. 


DOMARE   DANSEN. 

(THE   JUDGMENT  DANCE.) 

A  circle  is  formed  with  one  in  the  center  who  walks  around  carrying  a  lighted 
candle.     When  they  sing,  "  Ho,  ho,  ho,"  all  shake  their  heads. 

When  they  sing  "  So,  so,  so,"  all  nod  their  heads. 

As  they  sing  the  last  two  lines,  the  one  in  the  center  stands  in  front  of  one  in 
the  circle  and  holds  the  candle  before  the  face  of  that  one. 

If  the  player  in  the  circle  smiles  before  the  end  of  the  song,  she  must  take 
the  place  in  the  center.  Any  player  in  the  center  must  remain  there  until  some 
other  is  caught. 

So  let  us  all  begin  the  judging  dance 
Before  the  judge  who  is  here  — 
And  all  who  in  the  judging  dance  do  go, 
Then  hearts  shall  burn  as  they  do  so. 

They  all  say  thus,  ho,  ho,  ho. 

They  all  say  thus,  so,  so,  so. 
Did  you  dream  of  your  sweetheart  ? 
Smile  you  will  ere  I  depart. 


Swedish  Dances. 


37 


Introduction. 

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Swedish  Dances. 


38 


FOX   AND   GEESE. 


One  of  the  players,  Avho  represents  the  fox,  is  seated  on  a  chair ;  the  others 
walk  around  singing : 

Fox  in  the  garden,  yon  are  not  eating  there, 
Fie,  fie,  you  sly  fox,  you're  false  everywhere, 
False  everywhere. 
At  the  last  word  of  the  stanza,  the  players  all  stand  still  and  the  one  directly 
in  front  of  the  fox  is  the  goose.     The  others  all  move  behind   this  one  in  a  line, 
and  all  place  the  hands  on  the  shoulders  of  the  person  immediately  in  front. 
The  goose  and  the  fox  then  have  this  dialog: 


Goose :  Is  the  fox  at  home  to-day  ? 

Fox:  Yes. 

Goose:  What  is  he  doing? 

Fox :  Sitting  on  a  stone, 

Crunching  a  bone, 

Wanting  a  fresh  one. 
Goose:  What  will  it  be? 
Fox:  You  and  your  young  ones. 

The  fox  tries  to  tag  the  last  one  in  the  line.  The  players  keep  him  away  by 
dodging  to  the  right  and  left,  and  the  line  must  remain  unbroken.  When  the  one 
at  the  end  is  caught,  he  becomes  fox. 


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Swedish  Dances. 


39 


NIGAREPOLSKAN. 

(  SALUTATION   DANCE.) 


The  players  form  in  a  circle  and  one  of  tlicm  begins  the  dance.  This  one 
places  the  anus  akimbo,  springs  and  slides  one  foot  forward,  spring  and  change, 
again,  again  (measures  one  to  four). 

The  player  claps  the  hands  on  the  first  note  and  runs  around  inside  the  circle. 
On  the  last  measure  stops  in  front  of  some  one  and  stamps  twice  (measures  live 
to  eight ). 

The  dance  continues  with  both  the  one  on  the  inside  and  the  one  before  whom 
she  dances  executing  the  movement. 

When  the  second  part  begins  the  one  in  the  circle  follows  the  leader.  The 
play  continues  until  all  but  one  is  in  the  saluting  line.  That  one  now  starts  the 
dance. 


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Swedish  Dances. 


SCOTCH  DANCES 


42 


SCOTCH  DANCES. 


HIGHLAND   SCHOTTISCHE. 

(MONEY  MUSK.) 

The  tone  of  the  Highland  Schottische  is  excited  and  intense.  The  body  is 
fairly  pulled  off  the  earth.  The  arms  are  lifted  high  and  the  dancers  move  lightly 
and  quickly,  but  with  great  "snap." 

The  players  form  a  double  circle,  Numbers  One  facing  right  and  Numbers  Two 
facing  left. 

PART    I. 

Numbers  One  begin  with  the  left  arm  and  the  right  foot.  Raise  the  left  arm 
high  over  the  shoulder,  with  the  elbow  half  bent.  Hop  on  the  left  foot  and  ex- 
tend the  right  foot  sideward,  touching  the  floor  lightly  with  the  toe  (first  beat) ; 
hop  on  the  left  foot  and  swing  the  right  foot  behind  the  left  ankle  ( second  beat ) ; 
hop  on  the  left  foot,  swing  the  right  in  the  position  of  first  beat  ( third  beat ) ; 
hop  on  the  left  foot  with  the  right  foot  as  in  second  beat  (fourth  beat,  measure 
one ). 

Slide  sideward  with  the  right  (  first  beat ) ;  swing  the  left  to  the  right  so  forci- 
bly that  the  right  is  lifted  off  the  floor  ( second  beat ) ;  spring  to  the  right  foot 
( third  beat ) ;  hop  on  the  right  foot  and  swing  the  left  behind  the  right  ankle 
(fourth  beat,  measure  two). 

Repeat  the  movement  of  the  first  measure  with  the  right  foot,  the  left  arm 
raised  ( measure  three ). 

Repeat  the  movement  of  the  second  measure  (  measure  f our ). 

In  the  meantime,  Numbers  Two  begin  with  the  left  arm  and  right  foot  and 
take  the  same  movements,  in  the  opposite  direction  (measures  one  to  four). 

Repeat  (measures  live  to  eight). 

Numbers  One  dance  toward  the  center  of  the  circle  lirst,  Numbers  Two  away 
from  the  center. 

PART   II. 

Numbers  One  and  Two  join  right  arms,  the  left  one  raised  high.     Both  step 
forward,  outer  foot  (lirst  beat);   hop,  swinging   the  other  foot  forward,  upward 
«  second  beat);  step  forward  with  the  inner  foot  (third  heat);  hop,  swinging  the 
outer  foot,  forward  (fourth  heat,  measure  one). 
Scotch  Dances. 


43 


Repeat  the  movement,  but  turn  about  changing  arms  and  face  in  the  opposite 
direction  during  the  third  and  fourth  beats  of  the  last  measure  (measure  two). 

Repeat  the  movement,  turning  at  the  same  place  ( measures  three  and  four). 

Repeat  (measures  five  and  six). 

Repeat,  but  during  the  last  measure,  instead  of  turning  around,  the  dancers  all 
turn  their  partners  and  dance  to  the  next  partner  in  the  circle,  Numbers  One  go- 
ing on  to  the  right,  Numbers  Two  to  the  left  (measures  seven  to  eight). 

The  dance  repeats  until  the  original  partners  meet  again. 


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Scotch  Dances. 


u 

PETRONELLA. 
The  players  form  in  two  lines  facing  the  center.     The  lines  may  have  any 
number  of  dancers. 


1 

2 

1 

2 

1 

2 

1 

2 

Every  four  couples  form  a  set.     Every  fifth  couple  dance  at  the  same  time  as 
the  first  couple.     The  dance  is  described  for  one  set. 


PART    I. 

The  first  couple  begin  with  the  following  movement : 

Leap  high  from  the  left,  sideward  to  the  right  foot  ( first  beat );  swing  the  left 
foot  in  front  of  the  right,  quickly  change  again  to  the  right  foot  ( second  beat, 
measure  one ).  The  step  is  similar  to  the  "  setting  "  step  but  the  leap  is  high 
and  quick. 

Leap  from  left  to  right  and  continue  as  above  ( measure  two ). 

Leap  from  the  left  to  right,  but  diagonally  forward  instead  of  sideward,  at 
the  same  time  turning  toward  the  right  a  little  more  than  a  quarter  turn  (  first 
beat);  bring  the  left  foot  behind  the  right  and  change  weight;  quickly  change 
again  to  the  right  foot  (  second  beat,  measure  three). 

Leap  diagonally  backward  with  the  left  foot,  at  the  same  time  turning  to  face 
the  center  ( first  beat );  bring  the  right  foot  in  front  of  the  left  and  change  weight ; 
quickly  change  again  to  the  left  foot  (measure  four). 

After  the  fifth  measure  the  partners  are  in  the  2 

following  positions :  \ 

1^        ^2 


Repeat  the  above  movement  during  the  next  four  measures. 
Number  One  is  then  in  Number  Two's  starting  position  and 
vice  versa.  The  eight  measures  are  repeated,  and  the  dancers 
continue  the  movements  to  the  right,  returning  to  their  original 
positions.     The  figure  described  by  each  dancer  is  as  follows  : 

PART   II. 

The  first  couple  join  hands  and  slide  sideward  down  the  center  as  far  as  the 
fourth  couple  (measures  nine  to  twelve). 

Slide  back  again  and  finish  between  the  second  and  third  couple  (measures 
thirteen  to  sixteen ). 
Scotch  Dances. 


45 

The  first  couple  repeat  the  dance  and  finish  between  the  third  and  fourth 
couples. 

They  repeat  again  and  finish  below  the  fourth  couple. 

The  second  couple  then  begin  the  dance.  The  dance  is  completed  when  the 
fourth  couple  have  returned  to  their  original  position  in  the  set. 


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Scotch  Dances. 


4G 


FLOWERS   OF   EDINBURGH, 

The  formation  is  similar  to  the  Petronella. 

The  first  and  every  fifth  couple  dance  at  the  same  time. 


PART    I. 

The  first  lady  turns  to  her  right  and  moves  down  the  outside  of  her  line,  passes 
between  the  third  and  fourth  ladies  and  crosses  over  to  the  first  gentleman's 
place.  He,  meanwhile,  follows  her,  but  returns  to  her  place.  The  movement  is 
like  the  reel  step,  a  short  run  with  the  high  leap  on  the  first  beat  ( see  the  Eeel, 
measures  one  to  four ).  They  then  dance  the  setting  step  in  their  places  ( mea- 
sures five  to  eight ). 

The  first  gentleman  then  repeats  the  movement  of  the  first  lady  above  and  re- 
turns to  his  own  place ;  the  lady,  meanwhile,  follows  him  and  returns  to  her 
place  (measures  nine  to  twelve).  They  repeat  the  setting  step  as  above 
(measures  thirteen  to  sixteen). 

PART    II. 

The  two  dancers  join  hands  and  slide  down  the  center  to  the  end  of  the  set, 
then  slide  up  and  finish  below  the  second  couple  (measures  one  to  four). 

They  repeat  the  dance,  finishing  down  the  set  one  couple  each  time,  until  they 
become  the  fourth  couple.  The  second  couple  then  dance  and  the  dance  continues 
until  the  dancers  are  in  their  original  positions. 


Scotch  Dances. 


47 


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Scotch  Dances. 


48 


THE   TRIUMPH. 
The  formation  is  the  same  as  for  the  Petronella. 


PART    I. 

The  first  lady  and  the  second  gentleman  slide  forward,  join  hands  and  slide 
down  the  center  as  far  as  the  fourth  couple ;  at  the  same  time  the  first  gentleman 
goes  round  the  ladies  and  the  three  meet  at  the  end  of  the  set  ( measures  one  to 
four ). 

The  gentleman  who  has  accompanied  the  lady  takes  her  left  hand  with  his 
left,  the  other  gentleman  takes  her  right  hand  with  his  right,  and  with  his  left 
hand  takes  the  right  hand  of  the  first  gentleman  behind  the  lady.  She  is  thus  es- 
corted in  triumph  up  the  center,  all  returning  to  their  own  places  ( measures  five 
to  eight). 

The  above  is  repeated  with  the  second  lady  and  first  gentleman  ( measures  nine 
to  sixteen ). 

PART  ir. 

The  first  lady  and  the  second  gentleman  cross  over  to  change  places,  followed 
at  once  by  the  second  lady  and  the  first  gentleman  (measures  seventeen  and 
eighteen). 

They  return  to  their  places  in  the  same  order  ( measures  nineteen  to  twenty ). 

The  first  couple  slide  down  to  the  end  of  the  set  and  back  to  the  second 
place.  The  second  couple  now  becomes  the  first.  Eepeat  as  in  Part  I  until 
the  first  couple  return  to  their  places  again. 


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Scotch  Dances 


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Scotch  Dances. 


50 


THE    REEL  OF   THREE. 


The  following  are  old  forms  of  the  reel.  The  dance  is  usually  complicated 
because  of  the  difficult  fling  steps  that  are  inserted  in  place  of  the  "  setting. '"' 

The  dancers  form  in  the  following  manner,  with  either  two  gentlemen  and 
one  lady,  or  vice  versa : 


PART   I. 

The  reel  is  a  short,  quick  running  step,  with  three  steps  in  a  measure,  right, 
left,  right.  Then  left,  right,  left.  The  dancers  hop  on  the  first  step  of  the 
measure.  The  diagram  shows  the  manner  in  which  each  dancer  passes  around 
the  others.     This  movement  requires  the  full  eight  measures. 

PART   II. 

The  setting  step :  Leap  from  left  to  right  foot  (first  and  second  beats) ;  place 
the  left  foot  in  front  of  the  right  and  change  weight,  quickly  change  again  to  the 
right  foot  (third  and  fourth  beats,  measure  nine). 

Leap  from  the  right  to  the  left  foot  and  continue  as  above  (measure  ten). 

Continue  (measures  eleven  to  sixteen).  The  one  in  the  center  sets  to  the 
outer  ones  alternately  during  the  eight  measures. 

The  dance  repeats  at  will. 


THE   REEL   OF   FOUR. 

The  steps  are  the  same  as  in  the  reel  of  three.     The  dancers  start  as  follows : 

1 
2 

2 
1 

The  gentlemen  stand  in  the  center  back  to  back,  the  ladies  on  the  outside  fac- 
ing the  gentlemen.  The  dance  is  composed  of  the  reel  step,  during  which  lime 
the  dancer  describes  the  figure  eight,  and  the  setting  step  which  is  danced  on 
place  tnr  the  eight  measures  following.     The  dancers  move  as  follows: 

Scotch  Dances. 


51 


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Scotch  Dances. 


ENGLISH  DANCES 


54 


ENGLISH    DANCES. 


THE   GODDESSES. 

The  players  form  in  two  lines,  facing  forward  up  the  room.  Three  couples 
form  a  set. 

1         2 

1         2 

1         2 

etc. 

PART    I. 

Numbers  One  join  hands  and  take  three  steps  forward,  closing  their  feet  at  the 
fourth  beat.  Take  three  steps  backward  in  similar  manner.  Numbers  Two  take 
the  same  movement  with  them  (measures  one  to  four).  Repeat  (measures  four 
to  eight). 

PART    II. 

The  first  gentleman  and  lady  turn  outward  and  pass  around  outside  of  the 
dancers  in  their  respective  lines,  with  three  sliding  steps  forward.  When  they 
meet  below  the  third  couple,  they  again  turn  outward  and  pass  in  the  same  man- 
ner to  their  own  places  (measures  one  to  four). 

PART   III. 

Numbers  One  all  follow  their  leader  and  pass  around  Numbers  Two  on  the 
outside.  Numbers  Two  meanwhile  follow  their  leader  and  pass  around  on  the 
inside  of  Numbers   One.     They  move  around  until  in  their  own  places  again. 

Repeat  the  above,  Numbers  Two  passing  on  the  outside  (measures  four  to  eight). 

PART    IV. 

Numbers  One  now  join  hands  and  go  around  Numbers  Two,  returning  to  their 
own  places  (measures  one  to  four). 

Numbers  Two  repeat  the  movement  ( measures  four  to  eight ). 


English  Dances. 


55 


PART   V. 


Numbers  One  all  join  hands  and  go  around  in  a  circle,  turn  and  go  back 
again  to  starting  place  (measures  one  to  four). 
Number  Two  repeat  (measures  four  to  eight). 


PART    VI. 


All  six  dancers  join  hands  and  go  half  around,  turn  and  go  back  to  places. 
The  movement  is  an  alternate  sliding  step  ( measures  one  to  four ). 


PART    VII. 


Numbers  One  take  the  movement  of  the  reel  on  their  own  side 
One  starts  to  the  right,  the  other  Ones  to  the  left,  and  pass  around  each  dan- 
cer, each  forming  the  figure  eight  as  he  moves  ( measures  five  to  eight ). 
Numbers  Two  repeat  the  above  (measures  one  to  eight). 


PART   VIII. 


Numbers  One  and  Two  take  the  reel  movement  at  the  same  time  (  measures 
one  to  eight ). 


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English  Dances. 


56 

TRENCHMORE. 

The  players  form  in  two  lines  facing  toward  the  front  of  the  room.  In  this 
dance,  as  often  in  the  old  English  Country  Dances,  three  couples  form  a  set. 

PART    I. 

All  Numbers  One  join  hands  and  walk  forward  three  steps,  closing  feet.  Three 
steps  backward  to  place,  closing  feet.  Numbers  Two  do  the  same  at  the  same 
time  (measures  one  to  four).       Eepeat  (measures  four  to  eight ). 

PART    II. 

The  first  lady  and  gentleman  turn  outward  and  pass  around  the  outside  of  the 
dancers  in  their  respective  lines,  three  sliding  steps  forward,  then  meet  below 
the  third  couple.  Dance  seven  short  side  steps  up  the  center  together  to  their 
own  places  ( measures  nine  to  twelve ).     Eepeat  ( measures  thirteen  to  sixteen  ). 

PART    III. 

The  second  couple  join  hands  and  raise  arms.  The  first  couple  pass  under 
the  lifted  arms,  they  then  lift  their  own  arms  and  the  third  couple  pass  under 
them.  This  reverses  the  position  of  the  dancers  in  the  set.  The  movement  is 
taken  with  a  quick,  sliding  step  forward  ( measures  seventeen  to  twenty ).  Ee- 
peat the  movement,  the  first  couple  returning. 

PART    IV. 

The  first  man  sets  to  the  second  lady  ( see  the  reel  for  the  setting  step ),  then 
to  his  own  partner,  then  to  the  third  lady,  then  to  his  own  partner  again.  Each 
man  turns  his  own  partner  with  the  right  hand  after  the  setting  step  is  finished 
( measures  eight  to  twenty ).  The  first  lady  now  repeats  the  movement,  setting 
to  all  the  gentlemen  in  the  line,  the  other  ladies  turn  their  own  partners  with 
the  right  hand  as  above. 

PART    V. 

The  movement  is  the  same  as  in  Part  I  ( measures  one  to  eight ). 

PART    VI. 

The  first  gentleman  turns  the  first  lady  with  the  right  hand,  the  second  with 
the  left  hand,  and  passing  down  the  line  the  third  with  the  right  hand.  The  first 
lady  meanwhile  turns  the  gentleman  in  the  same  manner.  The  partners  meet  at 
the  bottom  of  the  line,  join  hands  and  slide  up  to  second  place  (measures  eight  to 
twenty).  The  dance  repeats  with  the  second  couple  in  first  place  and  continues 
as  long  as  desired. 

English  Dances. 


57 


TRENCHMORE. 


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English  Dances. 


58 


COUNTRY    DANCES 


It  is  probable  that  the  Country  Dances  are  the  degenerate  forms  of  the  real 
Folk  Dance  among  the  English.  Judging  from  the  names  and  from  the  descrip- 
tions of  them  in  the  oldest  records,  they  show  traces  of  the  freshness  and  spontane- 
ity that  characterize  the  dances  of  the  folk  in  the  other  countries.  The  "Cobbler's 
Jig  "  is  described  in  one  of  the  old  forms,  partly  made  over  by  the  fastidious  danc- 
ing master  of  the  Eighteenth  Century.  The  remarks  of  a  ballet  master  of  the 
early  Nineteenth  Century  regarding  the  dance  are  most  interesting.  "What  was 
meant  by  acting  the  cobbler,  the  author  leaves  to  the  ingenuity  of  the  reader  to 
discover.  It  admits  of  so  many  nonsensical  constructions,  he  begs  to  decline  put- 
ting any  on  it."  The  quotation  is  most  illuminating,  when  one  wonders  why 
the  English  Folk  dance  has  passed  away  among  meaningless  figures. 

The  same  author,  in  discussing  the  old  dances,  speaks  of  their  absurd  figures, 
like  the  following,  "Clap  hands,  strike  hands  across,  beckon  your  partner,  give 
three  jumps,  hold  up  finger,  wind  your  hands,  advance  four  steps,  nod  and  retire, 
etc."  Apparently  the  pantomimic  construction  of  the  dance  was  not  at  all  per- 
ceived by  the  English  ballet  master  of  the  Eighteenth  Century.  After  the  dance 
lost  all  meaning,  the  teachers  were  forced  to  call  the  figures  they  wished  ex- 
ecuted. The  dances  then  changed  form  rapidly  and  the  music  was  shuffled  with 
the  figures.     Soon  the  music  became  as  monotonous  as  the  dances. 

Two  of  the  old  forms  are  given  with  the  music,  "The  Dumps"  and  "The  Cob- 
bler's Jig."  These  are  valuable  because  they  show  mood  and  action,  although 
they  have,  even  in  the  forms  given  here,  suffered  under  the  hands  of  the  masters. 
"  Trenchmore  "  and  "  The  Goddesses"  are  good  specimens  of  the  developed  Coun- 
try Dance. 


THE   COBBLER'S  JIG. 


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60 

SIR   ROGER   DE   COVERLEY. 

The  players  form  in  two  lines  facing  the  center. 


111111 
2     2     2     2     2     2 


PART    I. 

The  first  lady  and  the  last  gentleman  advance  and  meet  at  the  center,  then 
retreat  to  their  places.  The  first  gentleman  and  the  last  lady  repeat.  This  order 
follows  the  other  movements  in  this  part  of  the  dance  also.  The  first  lady  and 
the  last  gentleman  advance  and  turn  with  the  right  hands,  retreat  as  above. 

The  first  gentleman  and  the  last  lady  repeat  the  movement. 

The  first  lady  and  the  last  gentleman  advance  and  turn  with  the  left  hands  as 
above. 

The  first  lady  and  the  last  gentleman  advance  and  turn  with  both  hands  as 
above. 

The  first  lady  and  the  last  gentleman  advance  and  pass  round  each  other  back 
to  back.     As  above. 

PART    II. 

The  first  couple  pass  each  other  in  the  center  and  so  on  until  they  meet  at  the 
end  of  the  line.       See  diagram  : 


PART    III. 

The  first  couple  join  hands  when  they  meet  at  the  end  of  the  line  and  prome- 
nade up  the  center,  all  the  couples  following  them,  beginning  with  the  last  one. 

When  they  reach  the  top  of  the  line  the  lady  turns  outward  to  her  right;  the 
gentleuun  turns  outward  to  his  left  and  they  both  follow  the  leaders  and  slide 
forward  to  the  end  of  the  line.  This  leaves  the  first  couple  at  the  end  of  the  line, 
the  second  couple  at  the  top. 

The  dance  is  repeated  until  all  have  passed  up  the  line. 

English  Dances. 


GERMAN  DANCES 


62 


GERMAN   DANCES. 


HO  PSAS  A,    TRA   LA   LA. 

The  players  form  a  circle  and  walk  around  one  in  the  center.     This  one  hops, 
stands  still,  dances  in  one  way  and  another,  or  gives  some  pantomimic  action 
which  all  must  follow. 
They  sing, 

Now  will  I,  now  will  I,  hop-sa-sa-sa, 
Happy  be,  joyful  be,  tra-la-la-la. 


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63 


RING    DANCE. 

The  children  form  in  a  ring  with  one  child    in  the  center, 
around  and  sing, 

In  summer,  in  summer, 
That  is  the  time  to  play, 
The  children  are  merry, 
And  they  dance  all  the  day ; 
And  who  is  standing  in  this  ring 
Must  do  as  I  do  now. 


They  all  walk 


The  child  in  the  center  then  sings : 

Just  laughing,  just  laughing, 
I  do  that  all  the  time, 
Then  will  I,  then  will  I. 
Turn  around,  and  around. 

All  the  children  turn  around  with  him  during  the  last  lines  and  all  repeat 
the  action  of  the  child  in  the  center  as  they  sing  again  the  last  four  lines. 

-Another  child  steps  into  the  center  and  the  dance  repeats.  They  act  differ- 
ent things  each  time. 


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German  Dances. 


64 

DORNROSCHEN. 

(SLEEPING  BEAUTY.) 

The  children  form  in  a  large  circle  in  the  middle  of  which  stands  Sleeping; 
Beauty,  while  in  a  small  circle  about  her  are  the  courtiers. 
The  King's  son  and  the  fairy  are  outside  of  the  large  circle. 

1.  Both  circles  move  around  in  opposite  directions. 

"  The  princess  was  so  beautiful,  beautiful,  beautiful, 
The  princess  was  so  beautiful,  beautiful." 

2.  The  children  stand  still  and  lift  the  forefinger  warningly  at  the  princess. 

"  0,  little  princess,  have  a  care,  have  a  care,  have  a  care, 
0,  little  princess,  have  a  care  of  a  wicked  fay." 

3.  The  fairy  breaks  through  the  circle  and  proclaims  the  curse. 

"  Then  came  a  wicked  fairy  there,  fairy  there,  fairy  there, 
Then  came  a  wicked  fairy  there,  and  she  said," 

4.  The  princess  kneels  down  and  covers  her  eyes,  the  courtiers  all  do  the 
same. 

"  Princess!  sleep  for  a  hundred  years,  hundred  years,  hundred  years. 
Princess !  sleep  for  a  hundred  years,  and  all  of  you." 

5.  The  children  in  the  outer  circle  take  hold  of  hands  and  raise  them  high 
to  form  a  hedge. 

■•  A  great  hedge  stood  up  giant  high,  giant  high,  giant  high, 
A  great  hedge  stood  up  giant  high  to  guard  them  all." 

(J.     The  King's  sou  breaks  through  the  circle. 

"There  came  a  Prince  unto  this  place,  to  this  place,  to  this  place, 
There  came  a  Prince  unto  this  place,  and  said  to  her," 

7.     The  Prince  sings  alone. 

"0  little  Princess,  lovely  maid!  lovely  maid!  lovely  maid  1 

0  little  Princess,  lovely  maid,  awake;!   arise!" 
German  Dances. 


65 

8.  The  prince  lifts  up  Sleeping  Beauty,  the  courtiers  form  in  couples,  and 
those  in  the  outer  circle  drop  the  arms  and  step  backward. 

"The  little  princess  then  awoke,  then  awoke,  then  awoke, 
The  little  princess  then  awoke  to  be  his  Queen." 

9.  The  kingly  pair  walk  around  the  circle  followed  by  the  attendants. 

"  They  held  a  splendid  marriage  feast,  marriage  feast,  marriage  feast, 
They  held  a  splendid  marriage  feast,  marriage  feast." 

10.  The  prince  and  princess  with  the  attendants  dance  in  the  center,  while 
those  in  the  circle  gallop  first  to  the  right,  then  to  the  left  around  them. 

"The  people  all  made  merry  then,  merry  then,  merry  then, 
The  people  all  made  merry  then,  through  all  that  land." 


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(56 


THE    BLACK   COOK. 

The  children  form  in  a  circle.  One  goes  around  outside  singing,  "Is  the  little 
black  cook  there  ?  "  The  children  reply,  "  No,  no,  no."  The  one  outside  contin- 
ues singing : 

"  Three  times  I  must  march  all  around, 
The  fourth  time  I  will  lose  my  hat, 
Find  one  for  me." 

As  she  sings  "  one  for  me  "  she  seizes  the  hand  of  a  girl  standing  in  the  ring, 
who  takes  hold  of  her  dress,  and  follows  the  leader  around.  The  play  repeats 
until  only  one  child  of  the  original  circle  remains.  This  one  covers  her  face 
with  her  hands,  while  the  children  in  the  line  form  a  new  circle  about  her  and 
sing  these  words : 

"  Is  the  little  black  cook  there?" 
Yes,  yes,  yes, 
There  she  stands, 
Yes,  there  she  stands, 
Yes,  there  she  stands, 
The  little  black  cook. 
Ha,  ha,  ha.  " 

The  child  left  alone  now  begins  the  game. 


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German  Dances. 


FRENCH  DANCES 


68 


FRENCH   DANCES. 


VINTAGE  DANCE. 

The  plot  of  this  dance,  which  is  similar  to  the  Harvest  Dance  of  Finland,  is 
composed  of  the  most  important  incidents  of  the  summer's  history.  The  break- 
ing of  the  earth  in  the  spring,  and  the  gathering  of  the  fruit  after  the  summer's 
labor,  are  climaxes  that  force  themselves  to  be  represented  in  the  joyful  celebra- 
tion which  occurs  when  the  grapes  are  all  harvested.  It  is  danced  merrily  and 
madly  after  the  last  bunch  has  been  gathered  from  the  vines.  Unfortunately, 
this  is  not  the  original  music  for  the  dance.  What  has  been  adopted  here  is  sim- 
ilar to  the  original  in  its  character,  but  is  not  so  fine  in  its  expression. 

The  dancers  form  in  couples  at  the  side  of  the  room  for  a  procession. 

PART  I. 

All  walk  forward  to  the  center  of  the  floor  to  form  a  circle.  The  movement  is 
very  free  and  gay.  When  the  eight  measures  are  completed,  Number  Two  slides 
behind  Number  One.  All  run  around  the  circle  (measures  one  to  eight).  The 
music  is  repeated  in  much  quicker  time. 


PART  II. 


The  players  stand  in  place  and  represent,  in  pantomimic  action,  the  digging 
of  the  earth,  two  movements  in  the  measure  (measure  one). 
Stamp  three  times  (  measure  two ). 
Repeat  ( measures  three  to  eight ). 


69 

During  the  eighth  measure  the  dancers  all  turn  around  once  while  stamping. 
The  music  is  repeated.  The  players  all  represent,  in  pantomimic  action,  the  gath- 
ering of  the  grapes  ( measure  one ). 

Stamp  three  times  (measure  two). 

Repeat  ( measures  three  to  eight ). 

During  the  eighth  measure  the  dancers  form  two  lines  all  facing  the  center. 


PART    III. 

All  skip  four  steps  forward  to  the  center  ( measures  one  and  two ). 

Skip  four  steps  backward  Co  place  ( measures  three  and  four ). 

Skip  forward  to  the  center,  Join  right  arms  with  opposite  dancer  and  skip 
once  around.     Step  backward  to  place  ( measures  five  to  eight ). 

All  walk  forward  eight  steps,  crossing  over,  passing  opposite  dancer  on  the 
right  side;  salute  while  passing  (measures  nine  to  twelve).  Return  (measures 
thirteen  to  sixteen ). 

The  first  eight  measures  of  Part  III  are  repeated,  all  skip  forward  to  center,  skip 
backward  to  place  ( measures  one  to  four ). 

Skip  forward,  join  hands  with  the  player  opposite,  and  skip  off  the  floor. 

The  climax  is  very  excited  and  the  music  rises  in  pitch  from  the  beginning. 


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70 


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BOHEMIAN  DANCES 


72 


BOHEMIAN    DANCES. 


ROVENACKA 


The  dance  is  full  of  spirit  and  vivacity.  The  accented  movements  are  exe- 
cuted sharply  but  lightly.  The  dancers  form  in  a  double  circle,  the  partners 
facing  toward  each  other  : 


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PART   I. 

The  dancers  stand  on  place  (measure  one).  All  stamp  left,  right,  left  (mea- 
sure two ). 

Stand  in  place  (measure  three). 

Clap  hands  three  times  (measure  four). 

Shake  the  forefinger  of  the  right,  then  of  the  left  hand  toward  each  other 
(measures  live  and  six)" 

All  turn  about  left  (measure  seven). 


PART    II. 

The  dancers  join  hands  and  polka  around  in  the  circle,  turning  half  way  around 
with  each  measure;.  On  the  sixteenth  measure  they  form  again  to  repeat  the 
first  movement. 

As  the  dance  repeats,  Numbers  One  choose  another  than  their  first  partner  for 
the  second  pari  and  much  run  ensues. 


73 


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74 


MINET. 

This  dance,  like  a  few  others,  is  given  as  an  illustration  of  the  significance  of 
the  dance  in  general,  rather  than  as  one  which  may  be  taught,  unfortunately, 
apart  from  its  thought.  It  is  one  form  of  expressing  close  fellowship,  and  was 
danced,  as  Waldau  says,  at  church  dedications  and  at  weddings. 

The  dancers  hold  each  other  cross-wise  by  the  hands  and  move  solemnly 
toward  one  another,  as  they  sing  this  greeting: 

May  the  Lord  God 
Give  us    His  love, 
Our  sins  forgive, 
Grant  us  Heaven, 
Also. 

May  God  give  us  health 
As  we  dwell  together, 
God  give  us  health. 
Give  us  health. 


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Bohemian  Dances. 


75 
KUZELKA. 

(THE   DUMPY   ONE.) 

The  name  is  suggestive  of  the  meaning  of  the  dance.  The  players  form  in  two 
lines,  any  number  of  couples  in  either  line.  The  odd  one  stands  at  the  head  of 
the  line,  or  goes  around  by  himself  until  the  last  movement  of  the  dance.  The 
movement's  are  executed  with  light,  vivacious  spirit.  The  dancers  take  their  places 
during  the  first  four  measures. 

PAET    I. 

All  begin  with  the  right  foot,  and  slide  with  the  right  and  the  left  foot  alternat- 
ingly,  across  to  the  opposite  side.  The  dancers  join  right  hands  as  they  pass 
each  other  ( measures  one  to  three ). 

All  turn  around,  joining  hands  in  the  lines  after  they  turn  (measure  four). 

Cross  over,  returning  to  the  first  position  ( measures  five  to  eight ). 

Repeat  (measures  nine  to  sixteen). 

PART    II. 

The  first  couple  meet  in  the  center,  join  hands  and  slide  down  between  the 
dancers  (  measures  one  to  four ). 

Slide  up  again  (  measures  five  to  eight ). 

Repeat  (measures  one  to  eight). 

When  the  dance  repeats  the  second  couple  do  likewise,  then  the  third,  etc. 

PART   III. 

Those  standing  at  the  ends  of  the  lines  close  in  and  those  in  the  center  step 
backward  to  form  a  circle.  The  partners  in  the  lines  turn  and  face  each  other. 
All  pass  right  and  left  around  the  circle  —  grand  right  and  left  ( measures  one  to 
eight  played  twice). 

When  this  movement  is  completed  the  odd  one  is  prepared  to  take  a  partner 
from  among  the  dancers  for  the  next  movement.  This  leaves  another  one  out  of 
the  dance.     This  play  continues  throughout  the  dance. 

PART    IV. 

The  partners  join  hands  and  waltz  slowly  around  on  place  ( measures  one  to 
four ). 

Polka  waltz  rapidly  ( measures  five  to  eight ). 

Repeat  (  measures  nine  to  sixteen ). 

The  slow  graceful  character  of  this  movement  is  so  marked  in  the  music  that 
no  further  description  is  necessary. 

Bohemian  Dances. 


76 


Prelude 


KUZELKA. 

(THE    DUMPY   ONE.) 


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78 

ZAHRADNICEK 

(THE   GARDENER.) 

The  dancers  form  in  two  lines  facing  each  other.     Any  number  of  couples 
dance  on  either  side,  thus  : 


1— 1 

i—l 

to 

i— i 

to 

i— 1 

PART    I. 

All  slide  with  the  right  and  the  left  foot  alternately  across  to  the  opposite 
side.     The  dancers  join  right  hands  when  they  pass  (measures  one  to  three). 
All  turn  around,  joining  hands  as  they  turn  ( measure  four ). 
Cross  over,  returning  to  the  first  position  ( measures  five  to  eight ). 
Repeat  ( measures  one  to  eight ). 

PART   II. 

The  partners  from  the  opposite  sides  meet  in  the  center  and  dance  a  very  slow 
waltz,  turning  around  on  place.  Two  measures  are  taken  for  one  complete  revo- 
lution. Sometimes  both  hands  are  joined,  sometimes  they  take  the  right  hands, 
and  sometimes  the  left  (measures  one  to  eight). 

part  in. 

This  movement  is  like  the  first,  but  the  dancers  in  one  line  lift  the  hands  high, 
while  those  in  the  other  line  stoop  down  and  pass  under  ( measures  one  to  four ). 

Repeat  the  movement,  but  the  lines,  in  returning,  reverse  the  action  ( measures 
five  to  eight ). 

Repeat  ( measures  one  to  eight ). 

The  following  is  a  free  version  of  the  song  which  once  accompanied  this  dance  : 

1  Forth  into  the  garden 

The  gardener  went  one  day; 
There  he  thought  to  find 
The  rosemary,  rosemary. 

2  There  was  no  rosemary, 

Only  the  thorn,  only  the  thorn; 
Love,   then,  our  wedding-day 
Will  never,  never  come. 

Bohemian  Dances. 


'9 


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(THE   GAHDENER.) 


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80 


KACER. 

(THE    DRAKE.) 

The  dancers  form  in  a  long  line.  Each  catches  the  preceding  one  on  the 
shoulders  by  the  clothing.  The  first  one  is  the  drake.  He  leads  the  players 
all  around  the  room,  turning  to  the  right  or  left  at  will. 

The  leader  has  in  his  hand  a  knotted  cloth,  with  which  he  attempts  to  strike 
one  of  his  followers.  If  the  one  struck  can  snatch  it  from  him,  the  leader  must 
keep  his  place.  If,  however,  he  succeeds  in  striking  one  of  the  players,  that  one 
must  take  the  position  at  the  head  of  the  line. 

The  movement  of  the  dance  is  a  short,  light  run,  three  steps  to  the  measure. 
The  chorus  sings  a  song  of  which  the  following  free  translation  suggests  the 
meaning  of  the  dance. 

The  drake  goes  down  the  valley, 

And  all  the  little  drakes  follow  him. 

I  will  overtake  and  catch  you, 

And  when  you  are  home,  slain  will  you  be. 


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81 


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Bohemian  Dances. 


82 


SATECEK. 

(THE    LITTLE    CLOTH.) 


There  are  many  dances  to  be  found  in  southern  Europe  that  are  similar  to 
this  in  sentiment  and  character.  As  this  type  of  folk  music  is  the  nucleus  from 
which  much  of  our  more  ambitious  love  music  has  sprung,  it  seems  fitting  to  give 
one  of  these  plays  in  its  early  form. 


PART    I. 


The  dancers  form  in  a  circle,  and  one  steps  into  the  center.     He  chooses  one 
of  the  maidens  (measures  one  to  eight). 


TART   II. 


The  two  kneel  on  a  handkerchief  or  little  cloth  placed  in  the  center  of  the  cir- 
cle, and  kiss  (measures  one  to  eight). 

They  dance  the  polka  waltz  around  in  the  circle  while  the  others  rotate  about 
them.     The  maiden  then  chooses  a  partner  and  the  dance  continues. 


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Bohemian  Dances. 


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